Namatjira Scott Rankin Analysis

Albert Namatjira was born on the 28th of July 1902 in Hermannsburg (Ntaria), Northern Territory. In 1905, the family received into the Lutheran Church, this was the beginning of a transition. Albert was born as Elea, however later on his name was changed to Albert after being baptized. After being baptized, Albert’s father was given the name Jonathan and his mother was blessed with the name Emilie. During Albert’s school years, he attended Hermannsburg Mission School. He lived in an all boys’ dormitory away from his family. Growing up, Albert sketched many things. He mainly sketched all his surroundings, the landscape around him and in some cases he even made artefacts out of wood. During the Aboriginal expedition people became extremely attracted to his great landscapes due to his undeniable talent. The first time Albert left Mission School was at the age of thirteen for six months (what did he do??). After

Throughout the play two actors role played multiple characters. Each actor morphed into another character. They had impressive versatility of their characters and played each role with emotion. The facial expressions they exercised appeared to contribute to the

The set throughout the play was non-naturalistic as the props used were to represent things, for example they used the sofa’s to represent cars on the stage, which had headlight on the front of the sofas or when they used the

Wilson shows his audience two ways he portrays women throughout the play and he stressed the significance of their roles in that time period.

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

This work examines the past and also imagines the future by using references of past racial murders and the way they coincide with the present context and explore Australian Indigenous and non-Indigenous culture in the present-day. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody, for protection of their own lead to claims of racism. The faces are also non-specific and have no identity, this refers back to the devastating history of racial discrimination and violence against indigenous people in

Australia is a young, modern country made up of a diverse and multicultural population, therefore, it’s difficult to say that it has a single national identity. This essay will examine what Australia’s identity may look like, specifically, through art.

Aboriginal art in Australia is both beautiful and meaningful. According to Perkins, Hetti and West (2007) Aboriginal art allows for reconciliation of the events of the past two centuries’ that is used as inspiration for their work. Whilst researching the Indigenous cultural heritage of Mount Barker, Western Australia I came across a well know Noongar artist from the region, Charlie Colbung. Colbung was born in Mount Barker in 1970 and still resides in the South West region where he is an Indigenous health worker as well as an Indigenous programs officer for the Great Southern TAFE (Design and Art Australia, n.d.). There are two prominent themes in Aboriginal art consisting of both country such as the land and kinship, the people (Perkins, Hetti

Its where they go to be comfortable to be men and to freely discuss topics in a comfortable environment. As you step in the theatre, you are immersed in the world of the barber shop. The actors interact with the audience. They dance with them, take photos with them, and even give them “haircuts”. The audience seated in the round allowing us to see the characters in a multi-dimensional way. Though I have a seat with a restricted view, I mostly saw everything. With the theatre being in the round, I felt that it added to the multi-dimensional aspect because you get to see the character in many different angles as opposed to a typical proscenium view. During this ensemble piece, where all expect for three of the actors played multiple characters throughout the play, I had a hard time separating the characters and remembering the pervious encounter they had when we are re-introduced to them. It always took me a couple of seconds to figure if this was a new character or an previously introduced character. The costume design did help distinguish each character even when the actor fall short. Because all the action happens on the same day, all the recurring characters wear the same costume throughout the play and each new character was dressed is a new costume as well. For example, when actor Sule Rimi, who played three different character, came on stage as Elnathan he was wearing a mustard leather jacket. Each design department’s choice

"A Philosophy of Theater « " East of Mina. N.p., n.d. Web. 19 Jan. 2011.

Next, characters always play a huge role in theatre, without characters that will not be

shall firstly do a summery of the play and give a basic image of what

Characters – agents of the play, they provide motivation for the plot. “Vivid Characters” are the ones who are faced with “obstacles that we the audience can recognise”.

The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than

look at both of the aspects of the play. In my piece of writing I